“Bahía Blanca” by Carlos Di Sarli y su Orquesta Típica, 1958.

Like nobody else, he knew how to combine the rhythmic cadence of tango with a harmonic structure, apparently simple but full of nuances and subtleties.

He was not enrolled for any of the two streams of his time. His was neither a traditional orchestra, styled after Roberto Firpo or Francisco Canaro, nor a follower of the De Caro renewal.

Di Sarli imposed a seal of his own; a different musical profile, which remained, unaltered throughout his prolonged career.

He was a talented pianist, maybe one of the most important, who conducted his orchestra from his instrument, with which he mastered the synchrony and the performance of the outfit.

Of his work as a composer, we undoubtedly highlight “Bahía Blanca”, a true jewel of the genre.

Carlos Di Sarli was the final piece of the puzzle of tango in the 40s, that made neither concessions to strident fashions, nor to rhythmic extravagances and who, however represented with extreme delicacy, the interpretative paradigm of danceable tango.